Faraday Cage – Experimental Portrait Series

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‘A Faraday cage or Faraday shield is an enclosure formed by conducting material or by a mesh of such material. Such an enclosure blocks external static and non-static electric fields. Faraday cages are named after the English scientist Michael Faraday, who invented them in 1836. …These rooms are spaces that are completely enclosed by one or more layers of a fine metal mesh or perforated sheet metal. The metal layers are grounded to dissipate any electric currents generated from external or internal electromagnetic fields, and thus they block a large amount of the electromagnetic interference.’  –  Wikipedia

‘Perception (from the Latin perceptio, percipio) is the organization, identification, and interpretation of sensory information in order to represent and understand the environment. … Perception depends on complex functions of the nervous system, but subjectively seems mostly effortless because this processing happens outside conscious awareness.’  –  Wikipedia

Experimental Space: Faraday Cage =
This new series of is concerned with perception and the study of perceptual awareness. It is a new venture which utilises research spaces, in this case a Faraday Cage, to cross-link scientific ventures into neuro-biology and experimental psychology with the visual pursuit of photography. What is perception (what is consciousness) and where does the study of these brain functions and the structural and functional organisation of the brain cross over with the artistic pursuit of photography and the sense of self. It is a new venture into ‘portraiture’ – a focus upon the human subject within the experimental space.

 

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About barryfalk

I am a self-taught photographer based in West Sussex. I photograph ‘Incidental Spaces’, places tucked away and neglected: edges of car parks, junk-filled garages, loading bays, abandoned spaces, vacant rooms, ransacked offices. These are the overlooked details of a city: architectural features which appear to serve no function. My images seek to capture an aspect of the city which is not willingly acknowledged. These places can be read as metaphors for loss and as such are suffused with a disturbed sense of self, what Freud referred to as the unheimliche: the familiar which has become alienated through the process of repression. However, when re-seen, photographed from a particular angle, in a certain light, these incidental spaces turn out to be resonant with association.
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